Hi all, I need to get the frame duration of every clip in my timeline in an EDL. I've played around with the different settings in the List Tool, but the best I can get is the frame duration of the entire sequence where as I need each clip - does anyone know how to do this?
Thanks, Michael
I set up 5 systems today, all iMacPros with 10.13.3, 2018.5 and tested a lot different driver (10.8.5, 10.9.5, 10.9.12, 10.10, 10.11.1, 10.11.2). I finally gave up. All with BM Intensity Shuttle Thunderbolt via Adapter.
Always the same on all systems.
One system disconnected the I/O after some seconds and on all other I got a spinning ball after hiding MC and returning back.
Or after playing the calibration tone, hiding MC an returning back.
Sometime I lost the video signal an got the white text on black.
Please don't open a support case for me, I will not further work on these systems. My colleague will update the OS and MC-Version on Monday and we hope this will fix it because we need the systems to be working in a couple of days.
If anybody has a working config, please post it.
Doyle
Hi,
For some reason, I can no longer access the menu in the source windows in Colour Correction to give me the choice between Waveform, vectorscopes or previous and next clip.
Looked everywhere, expecting it to be a simple answer, but need help.
Running 8.8.1 on a 2010 mac pro with symphony.
I
Hello
I've run into some weird behaveour in Symphony 5.5.3.
When I'm using both a Source Segment correction (green line) and a Program Segment correction (blue line) on a clip I can see that there is a 'hierachy' in that the Source Segment correction seems to be applied first - then the Program Segment correction. If colors are clipped by the Source correction they cannot be brought back by the Program correction.
However the Help states that:
Effects and Color Correction Guide : Understanding Color Correction Mode : The Color Correction Tool : Understanding Relationship Color Corrections
You can apply a relationship correcton and a color correction effect on the same segment. This results in two distinct corrections. Your Avid editing application processes the relationship correction first, and its result is the input to the color correction effect.This approach differs from applying one correction on the Source side and another on the Program side, when your Avid editing application makes a single adjustment using the merged values from the Source and Program sides.
But clearly the values are not mereged but applied one after another.
Is this a bug in Symphony? An error in the manual? Or perhaps a setting that can be changed somewhere?
I'll post some examples below. First the Y Waveform of the original image.
Hello, again:
I did the MC18.7 upgrade and am now unable to import .m2t files from a CF card. All previous MC versions accepted these files. Is there a plugin available? Was the .m2t plugin discontinued in 18.7?
Hi all,
I recently transcoded a batch of AMA-linked footage with the "run in background" option. According to the background services, it worked fine. The Avid MediaFiles folder is on the designated drive is showing all the MXF files as present, but in the project the files were showing up as "Media Offline". It's the first time this has happened to me with the background transcoding so I'm a bit lost.
Currently using 2018.5.0
Thanks,
NEXIS | SSD Health monitoring utility
In the last few days, Avid has provided a SSD Health monitoring utility that should be run DAILY by all customers with Avid NEXIS 7.3 to 2018.3.
As previously notified Avid NEXIS | FS 7.3 – 2018.3 does not correctly monitor the status of the metadata SSDs in Avid NEXIS Engines and the SDA.
Our recommendation is to upgrade to Avid NEXIS 2018.4 or higher as soon as possible. All systems should be monitored daily until upgraded.
The new utility uses a simple configuration file to teach the utility the address of all controllers. The utility then scans each controller and reports the status of all SSDs in a simple log file, as;
PASS: All good, check again tomorrow
Warning: Typically login issues
FAIL: Contact Avid Customer Care immediately (do not replace drives)
The utility is available for Windows and Mac and is available NOW in all NEXIS customers’ Avid Master Account (MyAvid).
Please spread the word, it is critically important that any system using Avid NEXIS v7.3 to 2018.3 run this utility every day.
questions, let me know.
Marianna
Hi There
Does anyone know whether Avid can Import/Export a HEVC file, in a mov wrapper, with PCM Audio?
Thanks
Hi guys first time posting here so please if anything needs correcting let me know.
Context
I'm a student editing on Avid Media Composer and because I am interested in becoming a professional editor I thought I would get some extra practice so I bought some footage online.
The footage that I bought is for a fight scene but they have used 3 different frame rates throughout the shoot, 23.97, 48 and 96. This was obviously because the original director wanted these to be slow Mo shots but the problem is that obviously I can only create my project in one frame rate. Any help would be appreciated,
thanks in advance,
David
Installing MC 2018.8 automatically installs PACE 3.1.3. After 3 days successful running of MC, suddenly an iLok error message appears, and MC’s audio suite window is missing most audio effects.
However, when I start MC while connected to the internet, everything works fine. I can then disconnect the pc from the internet, and everything remains ok.
A work-around is to de-install PACE 3.1.3 and install the legacy installer 2.4.7. However I prefer working 2ith PACE 3.1.3.
Historically for graphics with alphas such as animated lower 3rds I've always created them in Adobe After Effects and then rendered them out using the Animation codec and straight alpha. These import perfectly into MC.
Lately with larger frame sizes like UHD and consistency even with HD, I've been using DNxHD/DNxHR instead of animation in more of my workflows when exporting graphics out of AE. Within the codec configution within AE, there is an option for including an uncompressed Alpha channel.
When rendered out they work perfectly with After Effects. However, no matter what combination of render settings and MC import settings, MC does a horrible job of working with these DNxHD/DNxHR files that include alphas. It's not like it doesn't recognize the alpha... it knocks out some of the image while leaving other traces around or shows blocks of the background any number of strange things.
What is the secret combination of things to get a clean alpha using Avid's codecs and importing these files into MC?
I have some SD material in 4:3 that I have digitised as an SD project. I now want to open the bin of that material into a HD 1080p project so that it appears in its original aspect ratio, i.e. a smaller picture in a bigger frame size - so, black area L.R and Top and bottom. But when I open the 4:3 material in the 1080p project it seems to get automatically 'up converted'. I guess I could manually 'resize' the 4:3 back to the correct size unless someone knows a short cut?? THANKS.
I decided to jump in and try Baselight for Avid's 30-day trial to see if I can improve my color grading skills. Besides Baselight's tutorials, are there any books suitable to teaching yourself the software? Nothing comes up in a Google search.
I guess I'm a little behind but I just got an email that says Sorenson Squeeze has reached the end of life, it appears they are shutting down? Does anyone have any other info on this?
I received an email from Sorenson; they are giving away a free upgrade to 11Pro and saying goodbye. I've been using Squeeze for years as my only encoding software; have there been any discussions on this forum regarding alternative encoding programs?
With the advent of QUicktime being effectively gone (or in the case of MC, going, going...) and Sorenson abandoning the field, what are people's thoughts on getting media out of MC and into something viewable? In my case, I either go to DVD (yes, people still want DVDs) or BluRay. What would best practice now look like?
I don't want to get involved in QT Same as Source or the like, so that doesn't really leave a lot of options. AAF is great, except outside of Resolve, nothing else on my system reads AAFs. I'm currently experimenting with XAVC L 100Mbs exports to see what that does for me, but a 10 minute clip takes 45 minutes to render out. And I still have to put it in a format for BluRay.
Obviously, I can also go to DNxHR amd using something like TMPGenc, except I have other encoding software already, but it doesn't like DNxHR.
But, I digress. The question remains, what's everyone doing or going to do?
I'm on MC 8.9.3, and having trouble with script sync and rolling takes.
On the project I'm on, the director will back up and do 2 or 3 takes in a single roll. I load three takes under the slate, mark and in and out point around the first take, select the first take in SS and check "Sync between first and last mark", and the results are erratic.
Mostly I'm seeing the first couple of lines from the first take on the roll, and the last few lines from the last take of the roll.
If this was working correctly, I should be able to isolate a range of a take to match with script sync, right? Is this a bug? Or is there something I"m missing here.
Thanks!
Jeffrey
One of the most significant recent updates is the ability to change the font size of the Markers window (formerly known as Locators), and the ability to search (or rather sift) it.
Alas, this may cause the application to hang for a long time (waveform creation style...). This happens to me every time I load a source with many markers (like terstimonials for reality show, where the assistants put the text in markers every 10 sec), then entering the search criteria, switching to timeline (also when you insert/overwrite) and then switching back to source.
I don't know if this has already been reported or even solved (If it did, I would very much like to know)
HI, I am trying to produce XDCAM50 content using the AvidMediaTools (Version 2.12.5).
I initially wanted to use AMT for the compression but soon found that is non-trivial so I though I would simplify the setup by encoding myself and using AMT to wrap the mxf. Unfortunately when I try and do so I recieve an error (AMT_UNSUPPORTED_TRANSCODING_REQUEST) which is surprising as I am sure it doesnt need transcoding. Both the source and target XML I am providing to AMT are the same except for thwe timecode (example attatched to this post) so I cant really see what I am doing wrong.
Josh
Hola a todos les quiero pedir de favor me ayuden . Acabo de adquirir una HDV sony con salida HDMI y Firewire . Mi idea es pasarlo con la mejor calidad HD a mi Avid Media Composer. Venia capturando de mis otras camaras minidv SD y de mi VTR DV -CAM por firewire y ya saben en mi avid por captura, sin mayor problema .
Buscando información encontre : lo primero es definir ese tipo de salida OUT de la misma camcorder ok, cosa ya hice para que la salida sea HDV. pero al conectar el cable FW y tratar de hacer la captura en mi AVID , me dice que no imput selec, (algo asi )
No se si mi tarjeta PCI con puertos FIrewire no soporte este fluido de información? O si es cuestion de alguna modificación en los settings? en relidad no lo sé.
alguna idea? Saludos